Derrida’s Deconstruction of the Subject: Writing, Self and Other

2014 ◽  
Author(s):  
Thea Bellou
Keyword(s):  
Self And Other ◽  
The Subject

Group Process in the Resolution of Ethnonational Conflicts: The Case of Estonia

2001 ◽  
Vol 34 (1) ◽  
pp. 99-113 ◽  
Author(s):  
Maurice Apprey
Keyword(s):  
Group Process ◽  
The Other ◽  
Self And Other ◽  
The Subject ◽  
Play Space

The dimension of alterity as process and trajectory between absolute alterity and relative alterity is the subject of this article. The dimension of alterity as process of engagement between Self and Other that can potentially make continuity out of the antinomies of absolute and relative alterity will be shown to reveal itself in the arena of conflict enactment and resolution between two feuding factions. I propose that Self as agency is an approximation, the Other as absolute a misnomer; and that when Self and Other engage in a process of resolution of conflict, an ambiguous play space opens up fostering an exchange of representations of Self and Other.

scholarly journals Od odrzucenia ironii ku jej afirmacji. Dorota Masłowska w poszukiwaniu „my” [From rejection to praise of irony. Dorota Masłowska in her search of “we”]

2016 ◽  
pp. 1-50
Author(s):  
Claudia Snochowska-Gonzalez
Keyword(s):  
Postcolonial Theory ◽  
Self And Other ◽  
Snow White ◽  
The World ◽  
Specific Configuration ◽  
The Subject ◽  
Analytical Tools ◽  
Capitalist Rule

From rejection to praise of irony. Dorota Masłowska in her search of “we”The adventures of Dorota Masłowska, experienced between her novels Snow White and Russian Red and Honey, I Killed Our Cats, show a world where capitalism is the only way of organising reality. At the same time, it is a power affecting all types of relations: among people and between people and the world. The motif connecting Masłowska’s novels is the pursuit – through one’s writing – of liberation from the tools of the capitalist rule recorded and reinforced in the language. Attempts at comprehending this rule, undertaken always as an element of a writer’s ethos, are an extremely interesting path from destruction to praising conservatism and from combat for yourself (as defined by Hallward) – as an expression of a specific configuration of reality – to the singularity of a writer’s absolute. Taking this path requires a change to the use of two literary categories: grotesque and irony which remain Masłowska’s trademarks. At the same time, in her subsequent books grotesque and irony bring a new angle to her polyphonic writing. The author analyses the evolution of Masłowska’s writing making a (critical) use of the tools of postcolonial theory. She refers to the notions of “singular” and “specific” as used by Peter Hallward in his Absolutely Postcolonial. Writing between Singular and the Specific (2001). In his dissertation, Hallward presents two trends; a description thereof allows him for “the global and contemporary discrimination of fundamental approaches to our general conceptions of agency and context, self and other, politics and particularity.” Snochowska-Gonzalez refers Hallward’s categories to the subject of interest of the postcolonial theory (like freshly located and de-territorialisation, national determination and freedom from it). She develops the method of applying analytical tools presented in her article “Od melancholii do rozpaczy. O prozie Andrzeja Stasiuka” published in Studia Litteraria et Historica, no. 2 (2013).Od odrzucenia ironii ku jej afirmacji. Dorota Masłowska w poszukiwaniu „my” Przygody Doroty Masłowskiej, przeżywane na drodze od Wojny polsko-ruskiej pod flagą biało-czerwoną do Kochanie, zabiłam nasze koty, pokazują świat, w którym kapitalizm jest jedynym dostępnym sposobem organizowania rzeczywistości, a jednocześnie siłą, która nadaje kształt wszelkim relacjom – między ludźmi nawzajem i między ludźmi i światem. Nić łącząca powieści Masłowskiej to dążenie do wyzwolenia się – przez własną praktykę pisarską – od zapisanych i umocnionych w języku narzędzi kapitalistycznego panowania. Próby odnalezienia się wobec tego panowania, podejmowane zawsze jako element pisarskiego etosu, są niezwykle ciekawą drogą od burzycielstwa do pochwały konserwatyzmu i od walki o siebie samą, rozumianej po Hallwardowsku jako wyraz konkretnej konfiguracji rzeczywistości, do osobliwości pisarskiego absolutu. Przebycie tej drogi wymaga zmiany w użyciu dwóch kategorii literackich: groteski i ironii, które wciąż pozostają znakiem rozpoznawczym warsztatu Masłowskiej, a jednocześnie nadają – w kolejnych jej książkach – inny ton jej polifonicznemu pisarstwu.Autorka analizuje przemiany, jakim podlega pisarstwo Masłowskiej, przy (krytycznym) użyciu narzędzi teorii postkolonialnej. Wykorzystywane w tekście terminy „osobliwy” i „konkretny” (singular i specific) odwołują się do rozprawy Petera Hallwarda Absolutely Postcolonial. Writing between Singular and the Specific (2001). Hallward przedstawia w niej dwie tendencje, których opisanie pozwala mu na „całościowe i współczesne rozróżnienie zasadniczych ujęć ogólnych koncepcji sprawstwa i kontekstu, koncepcji ‘ja’ i ‘innego’, polityki i partykularności”. Snochowska-Gonzalez proponuje odniesienie kategorii Hallwarda do tematyki poruszanej przez teorię postkolonialną (takich jak zlokalizowanie i deterytorializacja, narodowe zdeterminowanie i wolność od niego). Autorka rozwija w tekście metodę zastosowania narzędzi analitycznych, przedstawioną w artykule Od melancholii do rozpaczy. O prozie Andrzeja Stasiuka, opublikowanym w piśmie „Studia Litteraria et Historica”, nr 2 (2013).

scholarly journals Waringin: Recording a Composition with Gamelan Salukat, a Crossroads of Music and Culture

2020 ◽  
Vol 13 (1) ◽  
pp. 61-83
Author(s):  
Oscar Smith
Keyword(s):  
21St Century ◽  
Self And Other ◽  
Recording Project ◽  
The Subject ◽  
East And West ◽  
A Priority

As the subject of numerous studies over the last century, Balinese music has been presented in a particular light.  In the 21st Century, it has been a priority for Western musicologists to renew our outdated or inaccurate conceptions.  This paper joins that discourse by presenting an intercultural project as an opportunity to bring the perspective of Balinese musicians under consideration.  Recently, I undertook a recording project in Bali, working on my composition “Waringin,” written for Gamelan Salukat.  Gamelan Salukat is a 20-30-person bronze ensemble with a radical tuning system, comprised of young musicians (~18-30 yrs.) from around the Ubud region of Central Bali.  The project became a crossroads of musicianship, uncovering many intriguing tensions—notation versus oral learning, counting rhythms versus feeling or embodying rhythms, and composition versus improvisation.  The following ethnographic account explores how the young Balinese musicians tackled the problems we faced and discusses what implications these newly formed strategies have for Balinese music in a contemporary setting where East and West, self and other, participant and observer are no longer divided.

The Improvisative

2014 ◽  
Author(s):  
Tracy McMullen
Keyword(s):  
High School ◽  
Cultural Theory ◽  
Human Agency ◽  
The Self ◽  
The Other ◽  
Alternative Theory ◽  
School Age ◽  
Self And Other ◽  
Central Factor ◽  
The Subject

This chapter explores the ramifications of musical improvisation for understanding self and other. It argues that contemporary cultural theory is over-invested in Hegelian notions of the self as created through the field of the other and the concomitant emphasis on “recognition” as the central factor in the construction of the subject. This emphasis on recognition is, in part, installed through the theory of performativity. The article illuminates problems with this theory and then offers an alternative theory, the “improvisative,” that focuses on “generosity” rather than “recognition.” It argues that the practice of the improvisative may offer a better approach to effecting human agency than the performative. An examination of the improvisative practices of middle and high school age girls at the Girls’ Jazz and Blues Camp in Berkeley, California demonstrates this effectiveness.

Politics of Affect

2021 ◽  
pp. 141-172
Author(s):  
Paul Earlie
Keyword(s):  
Social Sciences ◽  
The Political ◽  
Group Psychology ◽  
Self And Other ◽  
Theoretical Approaches ◽  
The Face ◽  
The Subject ◽  
Humanities And Social Sciences ◽  
The Relationship

This chapter explores the importance of affect in Derrida’s understanding of the political. The recent ‘affective turn’ in the humanities and social sciences is often seen as a turn away from the earlier ‘textualist’ models of poststructuralism. This chapter shows that affect is, however, central to deconstruction and to Derrida’s account of the relationship between subjectivity and the political, a relationship it traces to Derrida’s involvement in the 1980s with Philippe Lacoue-Labarthe’s and Jean-Luc Nancy’s Centre de recherches philosophiques sur le politique (Centre for Philosophical Research on the Political). Derrida’s writings on the political (le politique) and on politics (la politique) begin from the premise that the passionate bonds which tie us to ourselves and to others are always accompanied by anxiety in the face of loss or destruction. This aporia, which emerges in dialogue with Freud’s theory of affect and group psychology, is fundamental to the psychical (an)economy of the subject of deconstruction. The latter poses difficult questions to contemporary philosophical and theoretical approaches to affect, some of which are explored here. Texts such as Politiques de l’amitié (Politics of Friendship), Voyous (Rogues), and Le “concept” du 11 septembre (Philosophy in a Time of Terror) underscore how politics can exploit the fragility of the bond between self and other in promising an end to anxiety. For Derrida, however, such anxiety is interminable because it is part of the aporetic structure of subjectivity from the very beginning.

Subjectivity as Encounter: Feminine Ethics in the Work of Bracha Lichtenberg‐Ettinger and Anne Enright

Hypatia ◽  
2013 ◽  
Vol 28 (3) ◽  
pp. 633-645
Author(s):  
Mariëlle Smith
Keyword(s):  
Symbolic Order ◽  
Specific Interest ◽  
Self And Other ◽  
Linguistic System ◽  
The Subject

The fragility of the subject is a recurring issue in the work of Anne Enright, one of Ireland's most remarkable and innovative writers. It is this specific interest, together with her attempt to make women into subjects, that inevitably links her work to Bracha Lichtenberg‐Ettinger's theory of the matrixial borderspace, a feminine sphere that coexists with the Lacanian symbolic order and that, even before our entrance into this linguistic system, informs our subjectivity. By turning to a point in time before language—the encounter between “self” and “other” during pregnancy—both Enright and Ettinger test the boundaries of and the gaps within the linguistic system. It is the going before language that ultimately enables both to go beyond some of the most persistent dualisms present within the linguistic system and to create room for an alternative—a feminine—understanding of the ethical relationality between self and other.

scholarly journals Граница как паракатегория современной культуры

2020 ◽  
Author(s):  
M.V. Loginova
Keyword(s):  
Cultural Context ◽  
Meaning Making ◽  
Theoretical Understanding ◽  
Modern Culture ◽  
Self And Other ◽  
The World ◽  
The Subject ◽  
Methodological Approaches ◽  
Art Philosophy ◽  
Definition Of

В статье дан анализ проблемы границы в актуальном контексте формирования категориального аппарата культурологии. Материал исследования работы М.М. Бахтина, В.В. Кандинского, М. Хайдеггера, в которых граница анализируется с философских позиций. Автор понимает границу как смысловую единицу паракатегорию (В.В.Бычков), фиксирующую изменчивость современной культуры. Определение границы как становящейся паракатегории позволяет выделить ее специфические моменты: пространственность (граница место-топос соприкосновения мира и человека) антиномичность (разделение/объединение Своего и Другого, Я и Не-Я, внутреннего и внешнего, чуждости и близости) ценностную доминанту (интенциональная напряженность выражения границы как определенного смысла) функциональность, определяющую ее смысловое разнообразие в зависимости от культурного контекста антропологизм в понимании человеком своего места в мире, в котором современное искусство находит новые формы мировосприятия и способы выражения.The article analyzes the problem of the border in the modern philosophical and cultural context. The main feature of the 21st-century culture is its being in the field of formation, processuality. Consequently, the explanation of the meaning of modern culture is impossible without defining its categorical apparatus, which is formed in the comprehension of relevant art processes and, therefore, is also in formation. Studying the processes of the meaning-making of culture and the formation of its conceptual field are among the urgent tasks for cultural studies, emphasizing thereby the significance of the border problem for researchers. The research material is works by M.M. Bakhtin, V.V. Kandinsky, M. Heidegger, in which the border is analyzed from philosophical positions in various aspects of its problems. The use of ontological, dialectical, axiological, dialogical, philosophical, anthropological, historical and culturological methodological approaches in the course of the study contributed to the formation of the theoretical understanding of the essence of the border, as well as its specific features. The author understands the border as a semantic unit, paracategory (V.V. Bychkov), which fixes the changing existence of modern culture. In the research, the border is considered as a forming paracategory which gravitates to the substantiation of its categorical status and is actively used in the humanitarian knowledge of the 20th21st centuries. The established definition of the border made it possible to single out a number of specific points, such as: spatiality (the border as a place/topos of contact between the world and man) antinomicity (separation/unification) of self and other, me and not-me, internal and external, alien and close) value dominant (intentional tension of expressing the border as a definite meaning) functionality (the semantic diversity of the border is determined depending on the cultural context) anthropologism in mans understanding of their place in the world, in which contemporary art finds new forms of perception of the world and the corresponding ways of expression. As a result, the author draws the conclusion about the emerging nature of the border as an ontological category, which, no doubt, is relevant for the analysis of modern culture. The border as an inseparably divisible basis for the design of cultural being in its various forms (art, philosophy, religion, etc.), in essence, becomes the subject of a search for meanings, since a modern person perceives the extremeness of their existence in an emotionally sensitive way, as a certain intentional tension.

scholarly journals Affect and Dialogue in Collaborative Cross- Disciplinary Research: Developing Interactive Public Art on Cardiff Bay Barrage

2017 ◽  
Vol 1 (1) ◽  
pp. 576-590 ◽  
Author(s):  
Alice Entwistle ◽  
Inga Burrows ◽  
Fiona Carroll ◽  
Nathan Thomas ◽  
Mark Ware ◽  
...  
Keyword(s):  
Public Art ◽  
Aesthetic Experience ◽  
Smart Cities ◽  
The Body ◽  
Capital City ◽  
Self And Other ◽  
Internet Of Everything ◽  
Ongoing Effort ◽  
The Subject ◽  
Cardiff Bay

Abstract Where Cartesian philosophy distinguishes the perceiving and perceptual mind from the body, phenomenology constitutes the experiential/experiencing body as the subject, giving rise to the affective potential of art. An immersive world of digital connections, smart cities and the Internet of Everything dramatises the centrality of relationship, the intertwining of Self and Other, in the lived environments of human experience. This article addresses the contextual, disciplinary and practical challenges encountered in developing an ambitious interactive public art project embedding SMART technology on the coastal fringes of Cardiff, the capital city of Wales (UK). It examines the processes and problems involved in delivering a stimulating aesthetic experience in and on a complex site, for a complex audience profile. It traces, in particular, the dependence of a multi-disciplinary project team on the theoretical and practical effects of affect in their ongoing effort to produce engaging, provocative, socially inclusive interactive public art, in and through human-centred design techniques.

Naturrecht – Socialitas – Empfindsamkeit?

Daphnis ◽  
2021 ◽  
Vol 49 (1-2) ◽  
pp. 235-249
Author(s):  
Michael Schwingenschlögl
Keyword(s):  
Natural Law ◽  
Self And Other ◽  
The World ◽  
The Subject

Abstract This article surveys various efforts made to explore the origins of the movement of Empfindsamkeit (sentimentalism) by emphasizing the role of natural law theories formed around 1700. The view of sentiment in Tugendempfindsame Literatur matches the anthropology of natural law theories that saw man’s proper state in an equillibrium of self- and other-oriented relations to the world. Conceptions of Geselligkeit connect natural law and Empfindsamkeit. Comparing different understandings of Empfindsamkeit, it may be concluded that a future multifaceted look at the roots of Empfindsamkeit that integrates seemingly opposing perspectives on the subject is both possible and appropriate.

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